MONT MACHU PICCHU PEINT PAR GEORGIA O' KEEFFE

GEORGIA O' KEEFFE (1887–1986)
Mont Machu Picchu (2 430m)
Pérou

In Machu Picchu, Morning Light (1957) Huile sur toile, 61 x 45.7 cm. The Art Institute of Chicago (Donation Rosenbaum)

Le site
Machu Picchu (2430m) du quechua machu pikchu, litt. « vieux sommet », est une ancienne cité inca du xve siècle au Pérou, perchée sur un promontoire rocheux qui unit les monts Machu Picchu et Huayna Picchu (« le Jeune Pic » en quechua) sur le versant oriental des Andes centrales. Son nom aurait été Pikchu ou Picho. Considérée comme une œuvre maîtresse de l'architecture inca , elle est peu à peu abandonnée après l'effondrement de l'Empire inca au XVIe siècle, puis méconnue durant des siècles en dehors de la population locale. Cela lui a conféré une réputation de « cité oubliée ». Machu Picchu fut explorée en 1911 par l'archéologue américain Hiram Bingham (1875-1956), professeur assistant d'histoire de l'Amérique latine à l'université Yale, qui la fit connaître dans un ouvrage de référence. Le site est généralement considéré comme une des résidences de l'empereur inca Pachacútec. Quelques-unes des plus grandes constructions et le caractère cérémonial de la principale voie d'accès au llaqta évoquent un sanctuaire religieux. En revanche, les experts ont écarté l'idée d'un ouvrage militaire. Au centre d'un ensemble culturel et naturel connu sous le nom de « Sanctuaire historique de Machu Picchu », le site est depuis 1983 sur la liste du patrimoine mondial de l'UNESCO et depuis le XXIe siècle une des destinations touristiques les plus visitées de la planète, suscitant des mesures de régulation du surtourisme.

La peintre
Georgia O’Keeffe est une peintre américaine considérée comme une des peintres modernistes et des précisionnistes majeures du xxe siècle. L'art de Georgia O'Keeffe, un temps considéré moderniste et d'avant-garde, est basé sur une observation minutieuse de la nature et sur sa volonté de peindre ce qu'elle ressent. Elle demeurera à l'écart des courants, suivant sa propre voie. Ses gros plans de fleurs, qui caractérisent une bonne partie de sa production, révèlent son sens aigu de l'observation. Le format de ses toiles, les couleurs et les nuances rendent ses tableaux pratiquement abstraits. Les paysages du Nouveau-Mexique lui offrent de nouveaux sujets. Ses toiles représentant des crânes d'animaux, peints minutieusement, cherchent à symboliser la beauté du désert. Ses nombreux voyages en avion durant les années 1950 et 1960 lui inspirent sa série sur les nuages avec des toiles souvent de grandes dimensions.
À sa mort, Georgia O'Keeffe laisse environ 900 tableaux.
En novembre 2014, la vente aux enchères du tableau « Jimson Weed/White Flower No. 1 » en salle des ventes à New York, estimé initialement à 15 millions de dollars, monte à 44,4 millions de dollars, établissant par la même occasion un nouveau record mondial lors d'une vente aux enchères pour une artiste féminine.Le Georgia O'Keeffe Museum, un musée consacré à l'artiste, a été inauguré en 1997, à Santa Fe, grâce aux avoirs légués à sa mort. Sa maison à Abiquiú a été déclarée National Historic Landmark en 1998. Un film inspiré de son mariage a été réalisé par Edwin Sherin en 1991, A Marriage: Georgia O'Keeffe and Alfred Stieglitz. Un film biographique de Bob Balaban, Georgia O'Keeffe, est paru en 2009. Ses œuvres font partie des collections de nombreuses institutions muséales.

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2024 - Gravir les montagnes en peinture
Un blog de Francis Rousseau   

LES ANDES DU SUD PEINTES PAR RHOD WULFARS

RHOD WULFARS (bn. 1979)
Andes du sud (6,991 m - 22, 838ft)
Argentine

In « Twin", acrylic on hardboard, 2018, Private collection 

@rhodwulfars

D'autres œuvres de cet artiste sur son site : rhodwulfars.wixsite.com/rhodwulfars/

L'artiste
Rhod Wulfars est un peintre de montagne contemporain utilisant principalement la technique acrylique pour ses peintures. Il est né en 1979 à Mendoza (Argentine). Sur son site Internet, il écrit : "J'ai passé toute ma vie près des montagnes. Un jour, j'ai commencé à les peindre". Utilisant, à la manière de Nicolas de Staël, un style toujours entre abstrait et figuratif, ses peintures très fortes et très émouvantes décrivent parfaitement la majesté et le contenu spectaculaire des sommets qu'il peint. Rhod Wulfars fait un usage surprenant du médium acrylique, en pâte épaisse comme on pourrait le faire avec de la peinture à l'huile. Il avait l'habitude de ne nommer ses œuvres que par des chiffres et des lettres de série, mais parfois il écrit le nom des sommets et le rend plus facile à identifier.

A propos des tableaux
Le peintre écrit : " Ce n'est pas une vraie montagne. La plupart de mes peintures naissent de la combinaison de l'imagination et des heures passées à les regarder, à les parcourir et à les sentir. Elles ressemblent à ces reliefs de la Cordillera andine argentine appelés "acarreos", qui sont de longues pentes de roche meuble très populaires et facilement visibles. très fréquemment observée. Ce tableau est donc celui d'une montagne inconnue, rêvée qui en résume plusieurs, et qui est sortie de mon inconscient un après-midi où le pinceau lui a donné vie de façon mystérieuse sans que je puisse l'expliquer. " Le plus étonnant étant qu'ils le font d'un seul coup de pinceau aussi puissant et définitif que le soulèvement rocheux lui-même qui a crée ses reliefs.

Les montagnes
Les Andes (Cordillera de los Andes en espagnol) sont la plus longue chaîne de montagnes continentales du monde, formant un plateau continu le long de la bordure ouest de l'Amérique du Sud. Leur étendue est de 7000 km (4350 mi) de long, 200 à 700 km (124 à 435 mi) de large (la plus large entre 18 ° S et 20 ° S de latitude) et d'une hauteur moyenne d'environ 4000 m (13123 pieds). Les Andes s'étendent du nord au sud à travers sept pays d'Amérique du Sud : le Venezuela, la Colombie, l'Équateur, le Pérou, la Bolivie, le Chili et l'Argentine.
La Cordillère des Andes est la plus haute chaîne de montagnes en dehors de l'Asie. La plus haute montagne en dehors de l'Asie, le mont Aconcagua en Argentine, s'élève à une altitude d'environ 6 961 m (22 838 pieds) au-dessus du niveau de la mer. Le pic du Chimborazo dans les Andes équatoriennes est plus éloigné du centre de la Terre que tout autre endroit à la surface de la Terre, en raison du renflement équatorial résultant de la rotation de la Terre. Les plus hauts volcans du monde se trouvent dans les Andes, y compris Ojos del Salado à la frontière Chili-Argentine, qui culmine à 6 893 m (22 615 pieds).
Les Andes font également partie de la Cordillère américaine, une chaîne de chaînes de montagnes (cordillère) qui consiste en une séquence presque continue de chaînes de montagnes qui forment la "colonne vertébrale" occidentale de l'Amérique du Nord, de l'Amérique centrale, de l'Amérique du Sud et de l'Antarctique.

_________________________________________

2023 - Wandering Vertexes ....
Errant au-dessus des Sommets Silencieux...
Un blog de Francis Rousseau

 

 

 

PICO DE MARIA COMPRIDA PEINT PAR AGOSTINHO JOSE DA MOTA

AGOSTINHO JOSE DA MOTA (1824-1878)
Pico de Maria Comprida (1,926 m)
Brésil

 In Paisagem do Rio de Janeiro, huile sur toile, 130 x 79cm

 
La montagne
Le Pico da Maria Comprida (1,926m) est connu parmi les grimpeurs brésiliens pour abriter la voie d'escalade Maria Nebulosa , qui fut également la première voie du pays avec plus de 1000 mètres de longueur. Avec la nouvelle zone de protection, les habitants de la région et les alpinistes prévoient d'explorer ces attractions de manière durable et de promouvoir ainsi l'écotourisme et le tourisme rural dans la région.

Le peintre
Agostinho José da Mota était peintre, dessinateur et professeur brésilien. Ainsi, en 1837, il s'inscrit à l'Académie Impériale des Beaux-Arts. Il fut un brillant élève et, pour ses mérites et ses compétences démontrés, il reçut le prix d'un voyage en Europe en 1850. De retour au Brésil, en 1856, il est l'un des fondateurs de la Société de propagation des beaux-arts de Rio de Janeiro. Deux ans plus tard, il peint les portraits du couple impérial - Dom Pedro II (1825 - 1891) et Dona Teresa Cristina (1822 - 1889). La majeure partie de la production artistique d'Agostinho de Motta est constituée de paysages et de natures mortes. Sa représentation du paysage brésilien est parmi les meilleures qui impriment les valeurs et les normes de l'Académie Impériale des Beaux-Arts (AIBA), dans laquelle il a étudié et a ensuite été professeur, tant dans la formation de l'idée d'image nationale que comme dans la formation de l’image de l’empire. Agostinho Mota l'a fait pour ses œuvres artistiques, comme le portrait du couple impérial et les archives de la scène de l'époque.Les paysages d'Agostinho Motta sont les œuvres les plus célèbres de l'artiste. Ils se distinguent par la précision topographique, par le registre exact des dimensions des scénarios et par la compétence avec laquelle ils capturent les transpositions entre les différentes couleurs qui constituent ses extérieurs travaillés. Les scénarios choisis par l'artiste démontrent la dimension marquée de l'identité nationale qu'Agostinho Mota entendait représenter dans ses peintures, comme le Paysage de Rio de Janeiro, ci dessus influencé par les canons de l'AIBA.

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2011-2024 - Gravir les montagnes en peinture
Un blog de Francis Rousseau  

 

VOLCÀN SAN JOSÉ PHOTOGRAPHIÉ PAR ROBERT GERSTMANN

ROBERT GERSTMANN (1896-1960)
Volcán San José (5,856m)
Chili - Argentine

Photographié en 1932 à bord d'un aéroplane

 Le volcan
Le San José (5 856 mètres) est un volcan des Andes centrales d'Argentine (province de Mendoza, Tunuyán) et du Chili (Région métropolitaine de Santiago).
Il est situé à 40 kilomètres au sud du volcan Tupungato, à quelque 80 kilomètres à l'est-sud-est de Santiago du Chili, et à 80 kilomètres à l'ouest de la ville argentine de San Carlos.
Son altitude est de (sommet sud-oriental) et 5 820 mètres (sommet sud-occidental).
Le volcan comporte plusieurs sommets secondaires. La première ascension du sommet nord du San José date de l'année 1920 (5 740 mètres). C'est en 1931, qu'Otto Pfnninger et Sebastián Krückel surmontèrent le sommet principal (sommet sud-est). Ils furent surpris de découvrir l'importance du cratère et des glaciers qui occupaient l'intérieur de ce dernier.
À 3 130 mètres d'altitude se trouve le refuge refugio Plantat, qui fut édifié en par Enrique Plantat en 1937, utilisant les plans d'un refuge déjà existant dans les Alpes. Au début, il était pourvu d'eau potable et de chauffage ainsi que d'autres commodités, mais il s'est dégradé faute d'entretien.
Lorsqu'on aborde le volcan du côté chilien, près de la localité de San Gabriel, il surprend par son énorme taille et contribue à impressionner les touristes.

Le photographe
Robert Gerstmann fut un photographe très connu en Amérique du Sud. Gerstmann était un ingénieur électricien né à Vienne qui, dans sa jeunesse, développa un intérêt pour la photographie. En 1924, il immigre au Chili et de là se rend en Bolivie, où il réalise quelque 5 000 photographies, dont une sélection apparaît sous forme de photogravures dans son Bolivie, 150 Grabados en Cobre (1928), réédité en 1996 par la Fundación Quipus en La Paz. Gerstmann a parcouru de longues distances, photographiant l'altiplano de La Paz au sud jusqu'à la frontière argentine, à l'ouest jusqu'à la frontière chilienne et à l'est jusqu'aux Yungas, Cochabamba, Santa Cruz et les basses terres le long des Ríos Beni et Mamoré. Seuls Tarija et le Chaco ont échappé à son objectif. Cinq de ses photographies illustrent le magazine National Geographic "The Heart of Aymara Land" de Stewart E. McMillan (février 1927), et plusieurs apparaissent dans Bolivia (Guía Sinóptica) 1929 de Gustavo-Adolfo Otero. Gerstmann s'installe à Santiago en 1929. Il publie d'autres photos. albums, dont Chili : 280 grabados en cobre (1932), Colombie : 200 grabados en cobre (1951) et Chili en 110 cuadros (1960 ?), et s'est essayé au cinéma en Bolivie. On pense qu'il est mort à Santiago ca. 1960. Plusieurs milliers de ses plaques de verre se trouveraient dans une université d'Antofagasta.

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2011-2024 - Gravir les montagnes en peinture
Un blog de Francis Rousseau

LES ANDES DU SUD PEINTES PAR RHOD WULFARS (bn. 1979)

 

RHOD WULFARS (bn. 1979)
Andes du Sud (6, 991 m - 22, 838 ft)
Argentine

In Andes from Mendoza, 2018, acrylique sur radiographie, 24 x 30cm, Collection de l'artiste

@rhodwulfars
D'autres œuvres de cet artiste sur son site : rhodwulfars.wixsite.com/rhodwulfars/

L'artiste
Rhod Wulfars est un peintre de montagne contemporain utilisant principalement la technique acrylique pour ses peintures. Il est né en 1979 à Mendoza (Argentine). Sur son site Internet, il écrit : "J'ai passé toute ma vie près des montagnes. Un jour, j'ai commencé à les peindre". Utilisant, à la manière de Nicolas de Staël, un style toujours entre abstrait et figuratif, ses peintures très fortes et très émouvantes décrivent parfaitement la majesté et le contenu spectaculaire des sommets qu'il peint. Rhod Wulfars fait un usage surprenant du médium acrylique, en pâte épaisse comme on pourrait le faire avec de la peinture à l'huile. Il avait l'habitude de ne nommer ses œuvres que par des chiffres et des lettres de série, mais parfois il écrit le nom des sommets et le rend plus facile à identifier.

A propos des tableaux
Le peintre écrit : " Ce n'est pas une vraie montagne. La plupart de mes peintures naissent de la combinaison de l'imagination et des heures passées à les regarder, à les parcourir et à les sentir. Elles ressemblent à ces reliefs de la Cordillera andine argentine appelés "acarreos", qui sont de longues pentes de roche meuble très populaires et facilement visibles. très fréquemment observée. Ce tableau est donc celui d'une montagne inconnue, rêvée qui en résume plusieurs, et qui est sortie de mon inconscient un après-midi où le pinceau lui a donné vie de façon mystérieuse sans que je puisse l'expliquer. " Le plus étonnant étant qu'ils le font d'un seul coup de pinceau aussi puissant et définitif que le soulèvement rocheux lui-même qui a crée ses reliefs.

Les montagnes
Les Andes (Cordillera de los Andes en espagnol) sont la plus longue chaîne de montagnes continentales du monde, formant un plateau continu le long de la bordure ouest de l'Amérique du Sud. Leur étendue est de 7000 km (4350 mi) de long, 200 à 700 km (124 à 435 mi) de large (la plus large entre 18 ° S et 20 ° S de latitude) et d'une hauteur moyenne d'environ 4000 m (13123 pieds). Les Andes s'étendent du nord au sud à travers sept pays d'Amérique du Sud : le Venezuela, la Colombie, l'Équateur, le Pérou, la Bolivie, le Chili et l'Argentine.
La Cordillère des Andes est la plus haute chaîne de montagnes en dehors de l'Asie. La plus haute montagne en dehors de l'Asie, le mont Aconcagua en Argentine, s'élève à une altitude d'environ 6 961 m (22 838 pieds) au-dessus du niveau de la mer. Le pic du Chimborazo dans les Andes équatoriennes est plus éloigné du centre de la Terre que tout autre endroit à la surface de la Terre, en raison du renflement équatorial résultant de la rotation de la Terre. Les plus hauts volcans du monde se trouvent dans les Andes, y compris Ojos del Salado à la frontière Chili-Argentine, qui culmine à 6 893 m (22 615 pieds).
Les Andes font également partie de la Cordillère américaine, une chaîne de chaînes de montagnes (cordillère) qui consiste en une séquence presque continue de chaînes de montagnes qui forment la "colonne vertébrale" occidentale de l'Amérique du Nord, de l'Amérique centrale, de l'Amérique du Sud et de l'Antarctique.

_________________________________________

2023 - Wandering Vertexes ....
Errant au-dessus des Sommets Silencieux...
Un blog de Francis Rousseau

LES ANDES ARGENTINES PEINTES PAR RHOD WULFARS

 

RHOD WULFARS (né en 1979)
Andes du Sud (6, 991 m - 22, 838 ft)
Argentine

In Andes from Menodza,  acrylique sur panneau dur, 2018, Collection de l'artiste @rhodwulfars
D'autres œuvres de cet artiste sur son site : rhodwulfars.wixsite.com/rhodwulfars/

L'artiste
Rhod Wulfars est un peintre de montagne contemporain utilisant principalement la technique acrylique pour ses peintures. Il est né en 1979 à Mendoza (Argentine). Sur son site Internet, il écrit : "J'ai passé toute ma vie près des montagnes. Un jour, j'ai commencé à les peindre". Utilisant, à la manière de Nicolas de Staël, un style toujours entre abstrait et figuratif, ses peintures très fortes et très émouvantes décrivent parfaitement la majesté et le contenu spectaculaire des sommets qu'il peint. Rhod Wulfars fait un usage surprenant du médium acrylique, en pâte épaisse comme on pourrait le faire avec de la peinture à l'huile. Il avait l'habitude de ne nommer ses œuvres que par des chiffres et des lettres de série, mais parfois il écrit le nom des sommets et le rend plus facile à identifier.

A propos des tableaux
Le peintre écrit : " Ce n'est pas une vraie montagne. La plupart de mes peintures naissent de la combinaison de l'imagination et des heures passées à les regarder, à les parcourir et à les sentir. Elles ressemblent à ces reliefs de la Coridilla andine argentine appelés "acarreos", qui sont de longues pentes de roche meuble très populaires et facilement visibles. très fréquemment observée. Ce tableau est donc celui d'une montagne inconnue, rêvée qui en résume plusieurs, et qui est sortie de mon inconscient un après-midi où le pinceau lui a donné vie de façon mystérieuse sans que je puisse l'expliquer. " Le plus étonnant étant qu'ils le font d'un seul coup de pinceau aussi puissant et définitif que le soulèvement rocheux lui-même qui a crée ses reliefs.

Les montagnes
Les Andes (Cordillera de los Andes en espagnol) sont la plus longue chaîne de montagnes continentales du monde, formant un plateau continu le long de la bordure ouest de l'Amérique du Sud. Leur étendue est de 7000 km (4350 mi) de long, 200 à 700 km (124 à 435 mi) de large (la plus large entre 18 ° S et 20 ° S de latitude) et d'une hauteur moyenne d'environ 4000 m (13123 pieds). Les Andes s'étendent du nord au sud à travers sept pays d'Amérique du Sud : le Venezuela, la Colombie, l'Équateur, le Pérou, la Bolivie, le Chili et l'Argentine.
La Cordillère des Andes est la plus haute chaîne de montagnes en dehors de l'Asie. La plus haute montagne en dehors de l'Asie, le mont Aconcagua en Argentine, s'élève à une altitude d'environ 6 961 m (22 838 pieds) au-dessus du niveau de la mer. Le pic du Chimborazo dans les Andes équatoriennes est plus éloigné du centre de la Terre que tout autre endroit à la surface de la Terre, en raison du renflement équatorial résultant de la rotation de la Terre. Les plus hauts volcans du monde se trouvent dans les Andes, y compris Ojos del Salado à la frontière Chili-Argentine, qui culmine à 6 893 m (22 615 pieds).
Les Andes font également partie de la Cordillère américaine, une chaîne de chaînes de montagnes (cordillère) qui consiste en une séquence presque continue de chaînes de montagnes qui forment la "colonne vertébrale" occidentale de l'Amérique du Nord, de l'Amérique centrale, de l'Amérique du Sud et de l'Antarctique.

_________________________________________

2023 - Wandering Vertexes ....
Errant au-dessus des Sommets Silencieux...
Un blog de Francis Rousseau

DEDO DE DEUS PEINT PAR ELISEU VISCONTI

ELISEU VISCONTI (1866-1944)
Dedo de Deus (1,682m - 5,551ft)
Brésil

La montagne
Dedo de Deus (Le Doigt de Dieu) (1 ,682 m - 5 ,551 fr) est un massif dont le contour ressemble à une main pointant l'index vers le ciel. C'est l'un des nombreux monuments géologiques de la Serra dos Órgãos qui se situe à Serra do Mar, entre les villes de Petrópolis, Guapimirim et Teresópolis, dans l'État de Rio de Janeiro, au Brésil. L'alpinisme au Brésil est étroitement lié à l'ascension du Dedo de deus. Le pic est un symbole de l'État de Rio de Janeiro, apparaissant sur son drapeau et ses armoiries, symbolisant la justice, la vérité et la loyauté, avec la silhouette de la Serra dos Órgãos. Ce symbole a été mis en place par la Constitution de 1892 et officialisé sous le gouvernement de José Tomás da Porciúncula, avec de petites différences au fil du temps. En 1912, les alpinistes José Guimarães Teixeira, Raul Carneiro et les frères Américo, Alexandre et Acácio de Oliveira, tous de Teresópolis, ont été les premiers vaincre au sommet de la formation rocheuse.

L'artiste
Eliseu Visconti, né Eliseo d'Angelo Visconti était un peintre, dessinateur et enseignant brésilien d'origine italienne. Il est considéré comme l'un des rares peintres impressionnistes du Brésil et comme l'initiateur de l'art nouveau dans ce vaste pays.
Grâce à un prix reçu en 1892, Visconti se rend à Paris, où il fréquente l'École des beaux-arts. Il suit également des cours à l'Académie Julian et à l'École nationale supérieure des arts décoratifs, où il est l'élève du maître de l'art nouveau Eugène Grasset. Il est accepté au Salon de la Nationale des Beaux Arts et au Salon de la Société des Artistes Français. En tant que l'un des représentants brésiliens à l'Exposition Universelle de 1900, il expose les peintures Gioventú et Oréadas, pour lesquelles il reçoit une médaille d'argent. De retour au Brésil, Visconti expose à Rio de Janeiro et São Paulo, et obtient la première place à un concours de dessin de timbres postaux pour la Casa da Moeda brésilienne. Il voyage à nouveau en Europe, où il expose au Salon de Paris de 1905 le portrait de l'artiste Nicolina Vaz de Assis, aujourd'hui au Museu Nacional de Belas Artes. Cette même année, il est invité à peindre le rideau de scène du Teatro Municipal de Rio de Janeiro qu'il réalise dans son atelier à Paris.
De cette époque datent des projets décoratifs exécutés pour la  Biblioteca Nacional de (Rio de Janeiro), ainsi qu'une autre médaille d'or qu'il reçut à l'Exposition internationale de Saint-Louis (Louisiana Purchase Exposition), en 1904, pour le tableau Recompensa de São Sebastião . Le musée de Santiago du Chili acquit son Sonho Místico (Rêve mystique) en 1912. En 1913, Visconti retourna en Europe afin de peindre des panneaux à grande échelle pour le "foyer" du Theatro Municipal do Rio de Janeiro. Ses projets de retour étant interrompus par la Première Guerre mondiale, il resta en France jusqu'en 1920. Les peintures du "foyer" qui en résultent sont envoyées au Brésil pendant la guerre, en 1915. En 1922, son triptyque "Lar" lui vaut la Médaille de Honneur dans une exposition créée à Rio de Janeiro pour commémorer le premier centenaire de l'indépendance du Brésil, l'Exposição do Centenário. L'année suivante, Visconti peint la décoration murale de la salle du conseil municipal de Rio de Janeiro. En 1924, il peint le panneau représentant la signature de la première Constitution républicaine, pour l'ancien tribunal fédéral, également à Rio de Janeiro.

_________________________________________

2023 - Wandering Vertexes ....
Errant au-dessus des Sommets Silencieux...
Un blog de Francis Rousseau

LES ANDES ARGENTINES PEINTES PAR RHOD WULFARS

RHOD WULFARS (né en 1979)
Andes du Sud (6 991 m - 22 838 pieds)
Argentine

In Andes, acrylique sur panneau dur, 2018, Collection de l'artiste @rhodwulfars
D'autres oeuvres de cet artiste sur son site : rhodwulfars.wixsite.com/rhodwulfars/

L'artiste
Rhod Wulfars est un peintre de montagne contemporain utilisant principalement la technique acrylique pour ses peintures. Il est né en 1979 à Mendoza (Argentine). Sur son site Internet, il écrit : "J'ai passé toute ma vie près des montagnes. Un jour, j'ai commencé à les peindre". Utilisant, à la manière de Nicolas de Staël, un style toujours entre abstrait et figuratif, ses peintures très fortes et très émouvantes décrivent parfaitement la majesté et le contenu spectaculaire des sommets qu'il peint. Rhod Wulfars fait un usage surprenant du médium acrylique, en pâte épaisse comme on pourrait le faire avec de la peinture à l'huile. Il avait l'habitude de ne nommer ses œuvres que par des chiffres et des lettres de série, mais parfois il écrit le nom des sommets et le rend plus facile à identifier. 

A propos des tableaux
Le peintre écrit : " Ce n'est pas une vraie montagne. La plupart de mes peintures naissent de la combinaison de l'imagination et des heures passées à les regarder, à les parcourir et à les sentir. Elles  ressemblent à ces reliefs de la Coridilla andine argentine appelés "acarreos", qui sont de longues pentes de roche meuble très populaires et facilement visibles. très fréquemment observée. Ce tableau est donc celui d'une montagne inconnue, rêvée qui en résume plusieurs, et qui est sortie de mon inconscient un après-midi où le pinceau lui a donné vie de façon mystérieuse sans que je puisse l'expliquer. "  Le plus étonnant étant qu'ils le font d'un seul coup de pinceau aussi puissant et définitif que le soulèvement rocheux lui-même qui a crée ses reliefs. 

Les montagnes
Les Andes (Cordillera de los Andes en espagnol) sont la plus longue chaîne de montagnes continentales du monde, formant un plateau continu le long de la bordure ouest de l'Amérique du Sud. Leur étendue est de  7000 km (4350 mi) de long, 200 à 700 km (124 à 435 mi) de large (la plus large entre 18 ° S et 20 ° S de latitude) et d'une hauteur moyenne d'environ 4000 m (13123 pieds). Les Andes s'étendent du nord au sud à travers sept pays d'Amérique du Sud : le Venezuela, la Colombie, l'Équateur, le Pérou, la Bolivie, le Chili et l'Argentine.
La Cordillère des Andes est la plus haute chaîne de montagnes en dehors de l'Asie. La plus haute montagne en dehors de l'Asie, le mont Aconcagua en Argentine, s'élève à une altitude d'environ 6 961 m (22 838 pieds) au-dessus du niveau de la mer. Le pic du Chimborazo dans les Andes équatoriennes est plus éloigné du centre de la Terre que tout autre endroit à la surface de la Terre, en raison du renflement équatorial résultant de la rotation de la Terre. Les plus hauts volcans du monde se trouvent dans les Andes, y compris Ojos del Salado à la frontière Chili-Argentine, qui culmine à 6 893 m (22 615 pieds).
Les Andes font également partie de la Cordillère américaine, une chaîne de chaînes de montagnes (cordillère) qui consiste en une séquence presque continue de chaînes de montagnes qui forment la "colonne vertébrale" occidentale de l'Amérique du Nord, de l'Amérique centrale, de l'Amérique du Sud et de l'Antarctique.

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2022 - Wandering Vertexes ....
            Errant au-dessus des Sommets Silencieux...
            Un blog de Francis Rousseau

THE FIZTROY (?) PAINTED BY RHOD WULFARS

RHOD WULFARS (bn. 1979),
The Fitz Roy / Cerro Chalten (3,405 m- 11, 171 ft)
Chile - Argentina border

About this painting
The painter wrote: “It is not a real mountain. Most of my paintings are born from the combination of the imagination and the hours spent looking, walking and smelling them. I call them "Twins" because they are similar to those reliefs of the Argentinian Andean Coridilla called "acarreos", which are long slopes of very popular loose rock that can be easily viewed. very frequently observed. This painting is therefore that of an unknown mountain, dreamt up which sums up several, and which came out of my unconscious one afternoon when the brush gave it life in a mysterious way without my being able to explain it. "
The artist
Rhod Wulfars is a contemporary mountain painter using mainly acrylic technique for his paintings.
He was born in 1979 in Mendoza (Argentina). In his website he wrote: "I have spent my whole life by the mountains. On day I started to paint them". Using, in the manner of Nicolas de Staël, a style always beetween abstract and figurative, his very strong and very moving paintings described perfectly the majesty and the spectacular contents of the peaks he paints. Rhod Wulfars makes a surprising use of acrylic medium, in thick paste as one could do with oil paint. He used to named his works only bu numbers, and series letters, but sometime he writes the name of the peaks ans makes it more easy to identify. Other works by this artist on his website : rhodwulfars.wixsite.com/rhodwulfars/


The mountain
Fitz Roy / Cerro Chalten (3,405m- 11, 171 ft) is a mountain located near El Chaltèn village, in the Southern Patagonian Ice Field in Patagonia, on the border between Argentina and Chile. First climbed in 1952 by French alpinists Lionel Terray and Guido Magnone, " The Fitz Roy " remains among the most technically challenging mountains for mountaineers on Earth. Mount Fitz Roy is the basis for the Patagonia clothing logo following Yvon Chouinard's ascent and subsequent film in 1968.
Argentine explorer Francisco Moreno first saw the mountain on 2 March 1877. He named it Fitz Roy, in honour of Robert FitzRoy, who, as captain of the HMS Beagle had travelled up the Santa Cruz River in 1834 and charted large parts of the Patagonian coast.
Cerro is a Spanish word meaning mountain, while Chaltèn comes from a Tehuelche (Aonikenk) word meaning "smoking mountain", due to a cloud that usually forms around the mountain's peak. Fitz Roy, however, was only one of a number of peaks the Tehuelche called Chaltèn.
It has been agreed by Argentina and Chile that their international border detours eastwards to pass over the main summit, but a large part of the border to the south of the summit, as far as Cerro Murallуn, remains undefined.

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2022- Wandering Vertexes
Un blog de Francis Rousseau

CHIMBORAZO PAINTED BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH (1826-1900)
El Chimborazo (6,263 m -20,548 ft)
Ecuador

In Mount Chimborazo Shown From Riobamba, Ecuador, 1857, Brush and oil on thin board,
29.1 x 44.1 cm (11 7/16 x 17 3/8 in.) Smithsonian/ Cooper Hewitt, Smithsonian Design Museum

 

The mountain
Chimborazo (6,263 m -20,548 ft) is a currently inactive stratovolcano in the Cordillera Occidental range of the Andes ans the highest mountain in Ecuador and the Andes north of Peru ; it is higher than any more northerly summit in the Americas. Chimborazo is not the highest mountain by elevation above sea level, but its location along the equatorial bulge makes its summit the farthest point on the Earth's surface from the Earth's center. Chimborazo is at the main end of the Ecuadorian Volcanic Arc, north west of the town of Riobamba. Chimborazo is in la Avenida de los Volcanes (the Avenue of Volcanoes) west of the Sanancajas mountain chain. Carihuairazo, Tungurahua, Tulabug, and El Altar are all mountains that neighbor Chimborazo. The closest mountain peak, Carihuairazo, is 5.8 mi (9.3 km) from Chimborazo. There are many microclimates near Chimborazo, varying from desert in the Arenal to the humid mountains in the Abraspungo valley. Its last known eruption is believed to have occurred around A.D. 550. Until the beginning of the 19th century, it was thought that Chimborazo was the highest mountain on Earth (measured from sea level), and such reputation led to many attempts on its summit during the 17th and 18th centuries. In 1746, the volcano was explored by French academicians from the French Geodesic Mission. Their mission was to determine the sphericity of the Earth. Their work along with another team in Lapland established that the Earth was an oblate spheroid rather than a true sphere. They did not reach the summit of Chimborazo. In 1802, during his expedition to South America, Baron Alexander von Humboldt, accompanied by Aimé Bonpland and the Ecuadorian Carlos Montufar, tried to reach the summit. From his description of the mountain, it seems that before he and his companions had to return suffering from altitude sickness they reached a point at 5,875 m, higher than previously attained by any European in recorded history. (Incans had reached much higher altitudes previously; see Llullaillaco). In 1831, Jean-Baptiste Boussingault and Colonel Hall reached a new "highest point", estimated to be 6,006 m. On 4 January 1880, the English climber Edward Whymper reached the summit of Chimborazo. The route that Whymper took up Chimborazo is now known as the Whymper route. Edward Whymper, and his Italian guides Louis Carrel and Jean-Antoine Carrel, were the first Europeans to summit a mountain higher than 20,000 feet. As there were many critics who doubted that Whymper had reached the summit, later in the same year he climbed to the summit again, choosing a different route (Pogyos) with the Ecuadorians David Beltrбn and Francisco Campaсa.

The painter
Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes. Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes. Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases. Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.
Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.
This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of Luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.
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2022 - Wandering Vertexes...
by Francis Rousseau

PAO DE AÇUCAR PAINTED BY CHARLES LANDEER

 

 

CHARLES LANDEER (1799-1879)
Pao de Açucar / Sugarloaf Mountain / (396 m - 1299 ft)
Brazil

In View of Sugarloaf Mountain from the Silvestre Road 1827, oil on canvas, 61,5 x 91 cm,
Pinacoteca do Estado de São Paulo, Brazil

The painter
Charles Landseer (RA) was an English painter, mostly of historical subjects. He was born the second son of the engraver John Landseer, and the elder brother of the animal painter, Sir Edwin Landseer. He trained under his father, and the painter Benjamin Robert Haydon. He was awarded the silver palette of the Royal Society of Arts for a drawing of Laocoon in 1815, and in 1816 he entered the Royal Academy Schools where he was taught by Henry Fuseli. In 1823 he accompanied Sir Charles Stuart de Rothesay on a diplomatic mission to Portugal and Brazil. Many of the drawings he made on the journey were shown at the British Institution in 1828. He became an associate in of the Royal Academy in 1837, and a full academician in 1845. In 1851, he was appointed Keeper of the Royal Academy, a post requiring him to teach in the "Antique School". He remained in the position until 1873.  Most of his pictures were of subjects from British history, or from literature. He paid close attention to the historical accuracy of the accessories and details in his paintings. His works included The Meeting of Charles I. and his Adherents before the Battle of Edgehill, Clarissa Harlowe in the Prison Room of the Sheriff's Office (1833, now in the collection of the Tate Gallery), The Pillaging of a Jew's House in the Reign of Richard I (1839, Tate Gallery) and The Temptation of Andrew Marvel (1841). While under Haydon's instruction he also made a series of detailed anatomical drawings.  He died in London on 22 July 1879, leaving  quite generously 10,000 guineas to the Royal Academy to fund scholarships.

The mountain
Sugarloaf Mountain (396 m - 1299 ft), Pao de Açucar in Portuguese, Pain de Sucre in French, is a isolated peak (Inselberg) situated in Rio de Janeiro, Brazil, at the mouth of Guanabara Bay on a peninsula that sticks out into the Atlantic Ocean. Rising above the harbor, its name is said to refer to its resemblance to the traditional shape of concentrated refined loaf sugar. It is known worldwide for its cableway and panoramic views of the city. The name "Sugarloaf" was coined in the 16th century by the Portuguese during the heyday of sugar cane trade in Brazil. According to historian Vieira Fazenda, blocks of sugar were placed in conical molds made of clay to be transported on ships. The shape given by these molds was similar to the peak, hence the name.
Climbing routes:
1907 – The Brazilian engineer Augusto Ferreira Ramos had the idea of linking the hills through a path in the air.
1910 – The same engineer founded the Society of Sugar Loaf and the same year the works were started. The project was commissioned in Germany and built by Brazilian workers. All parts were taken by climbing mountains or lift by steel cables.
1912 – Opening of the tram. First lift of Brazil. The first cable cars were made of coated wood and were used for 60 years.
1972 – The current template trolley was put into operation. This increased the carrying capacity by almost ten times.
2009 – Inauguration of the next generation of cable cars that had already been purchased and are on display at the base of Red Beach.
Visitors can watch rock climbers on Sugarloaf and the other two mountains in the area: Morro da Babilônia (Babylon Mountain), and Morro da Urca (Urca's Mountain). Together, they form one of the largest urban climbing areas in the world, with more than 270 routes, between 1 and 10 pitches long.

EL VULCAN PLANCHÒN-PETEROA PHOTOGRAPHED BY LEO WEHRLI

LEO WEHRLI (1870–1954)
El Planchón-Peteroa (4,107 m - 13,474 ft)
Argentina- Chile border

In Planchon Vulcan, photo,1897, hand colorized by Anna Wehrli-Frey 1918,
ETH Library, Zurich

The volcano
EL Planchón-Peteroa (4,107m - 13,474 ft) also known as Azufre-Planchón-Peteroa or Nevado de los Banos is a complex of active volcanoes extending in a north–south direction along the border between Argentina and Chile. It consists of volcanoes of various ages with several overlapping calderas. Those include Volcán Planchón, Volcán Peteroa and Volcán Azufre. A partial collapse of the complex about 11,500 years ago produced a major debris avalanche, which followed the course of the Teno River until reaching the Chile Central Valley. Peteroa has a crater lake. Lagunas de Teno lies at the foot of Planchón volcano. In this area also is the Vergara International Pass.
Planchón-Peteroa Volcano erupted on September 6, followed by a stronger eruption on September 18. On September 6, 2010, , the volcano erupted once again, emitting a dark gray plume of volcanic ash. As winds blew the ash southeast into Argentina, residents there were warned by authorities to evacuate the nearby areas before Planchón-Peteroa would erupt again.

The photographer
Leo Wehrli was a Swiss geologist, professor and explorer. After studying music, botany, chemistry, mineralogy, petrography and geology in Berlin and Zurich, Wehrli became assistant to Albert Heim. Immediately after completing his thesis, he left for Argentina with the famous Carl Emanuel Burckhardt in 1896. Accredited by the La Plata Museum and the government of Argentina, he explored the Andes he crossed at least five times during a stay of two years. His work was more particularly oriented on the delimitation of the border between Argentina and Chile after the agreement signedbetween these two countries in 1881 and on the determination of the property of mountain peaks, ridge lines and basins slopes.
After his return to Switzerland, he worked between 1900 and 1935 as a teacher and then lecturer for the Geol. Centralblatt in Berlin ; between 1901 and 1912, he wrote nearly 500 articles. He made other trips through Europe and North Africa (Egypt) before going back to Argentina again in 1938. He has summarized his research results in numerous articles, notably in the Geographic Lexicon of Switzerland. He participated in the founding of the Zurich Adult Education Center and gave lectures there from 1921 to 1953. From 1931 to 1951 he was a member of the Swiss Alpine Club SAC commission for the Central Library and has was president for 14 years.
Wehrli left a collection of 15,000 slides, some of which were hand-colored by his wife, born Anna Frey. A large part of the works is made available online by the photographic archives of the ETH-Bibliothek in Zurich.

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2022 - Wandering Vertexes...
by Francis Rousseau

ALPAMAYO SUMMIT PHOTOGRAPHED IN 1936 BY ERWIN SCHNEIDER

 

 

 

ERWIN SCHNEIDER (1906-1987) 

Alpamayo ( 5,947m - 19,511 ft) 

Peru

In  "Alpamayo summit", argentic photo 1936

The mountain
Alpamayo ( 5,947m - 19,511 ft) possibly named from Quechua words is one of the most conspicuous peaks in the Cordillera Blanca of the Peruvian Andes. Alpamayo Creek originates northwest of it. The Alpamayo lies next to the slightly higher Quitaraju. n July 1966, the German magazine "Alpinismus", published a photo of Alpamayo taken by American photographer Leigh Ortenburger accompanied by an article on a survey among mountaineering experts, who chose Alpamayo as "The Most Beautiful Mountain in the World". Not defined by a single summit Alpamayo has two sharp summits, the North and south, which are separated by a narrow corniced ridge.
The first attempt on Alpamayo's summit was in 1948 by a Swiss expedition. Climbing by way of the heavily corniced North Ridge, the three climbers came within sight of the virgin summit when a large cornice broke under them and they were carried down the precipitous Northwest Face. By some amazing piece of good fortune, the three were neither buried nor injured by the 650 foot fall and they were able to make an 'orderly retreat' from the mountain. In 1951, a Franco-Belgian expedition including George and Claude Kogan claimed to have made the first ascent via the North Ridge. After studying the photos in George Kogan's book The Ascent of Alpamayo, the German team of Günter Hauser, Frieder Knauss, Bernhard Huhn and Horst Wiedmann came to the conclusion that the 1951 team did not reach the actual summit, thereby making their ascent via the South Ridge in 1957 the first. Although the South Ridge is no less steep or dangerous than the North Ridge, it has the advantage of leading directly to the higher south summit. This was written up in Hauser's book White Mountain and Tawny Plain. Although there are several climbing routes on the Southwest Face the most common is known as the Ferrari or Italian Route. It was opened in 1975 by a group of Italian alpinists led by Casimiro Ferrari. It begins at the top of the highest point of the snow slope where the bergshrund separates the upper face on the left and then ascends a steep runnel to the summit ridge. Because of its esthetic beauty, Alpamayo is one of the most climbed mountains in the Andes and the base camp can be a hodge-podge of nationalities. Each year the route is made easy by the first party to ascend the route as they usually leave snow-stakes in place at the belay stations. Then it is just a matter of finding out what length of rope they used so that your rope is long enough to reach each station. In the summer of 1988, they had used 50m ropes.

The photographer
Erwin Hermann Manfred Schneider was an Austrian mountaineer. On July 25, 1928, he was part of the German-Soviet expedition for the first ascent of Lenin Peak. They reach the top with Karl Wien and Eugen Allwein. In 1930, he participated in an expedition in the Himalayas led by Günter Dyhrenfurth to Kangchenjunga. On June 21, 1931, he made the first ascent of Jongsong Peak at 7,462 meters1,2. They climb the Ramthang Chang at 6,802 meters. In 1932 and 1936, he took part in two expeditions organized by the German-Austrian Alpine Club (DuOeAV). During these expeditions, Schneider and his companions made about ten first ascents.

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2022 - Wandering Vertexes...
by Francis Rousseau

CERRO ACONCAGUA PAINTED BY RHOD WULFARS

 

RHOD WULFARS (bn. 1979)
Aconcagua (6,961 m -22,838 ft)
Argentina

In "Aconcagua," Acrylic on canvas, 18 x 24cm

The artist
Rhod Wulfars is a contemporary mountain painter using mainly acrylic technique for his paintings.
He was born in 1979 in Mendoza (Argentina). In his website he wrote: "I have spent my whole life by the mountains. On day I started to paint them". Using, in the manner of Nicolas de Staël, a style always beetween abstract and figurative, his very strong and very moving paintings described perfectly the majesty and the spectacular contents of the peaks he paints. Rhod Wulfars makes a surprising use of acrylic medium, in thick paste as one could do with oil paint. He used to named his works only bu numbers, and series letters, but sometime he writes the name of the peaks ans makes it more easy to identify.
Other works by this artist on his website : rhodwulfars.wixsite.com/rhodwulfars/
Contact : @rhodwulfars

The mountain
Cerro Aconcagua (6,961 meters -22,838 ft) or simplynThe Aconcagua is the highest mountain outside of Asia and by extension the highest point in both the Western Hemisphere and the Southern Hemisphere.
Aconcagua is not a volcano.  he origin of the name is contested; it is either from the Mapuche "Aconca-Hue", which refers to the Aconcagua River, the Quechua "Ackon Cahuak", meaning "Sentinel of Stone", or Quechua "Anco Cahuac", meaning "White Sentinel" or the Aymara "Janq'u Q'awa" meaning "White Ravine", "White Brook".
Aconcagua is located in the Andes mountain range, in the Mendoza Province, Argentina, and lies 112 kilometers (70 mi) northwest of its capital, the city of Mendoza and 108 km (67 mi) from Santiago de Chile (the capital of Chile). The summit is in fact located about 5 kilometers from San Juan Province and 15 kilometers from the international border with Chile; its nearest higher neighbor is Tirich Mir in the Hindu Kush, 16,520 kilometers (10,270 mi) away.
Aconcagua is one of the Seven Summit, which includes the highest mountains of each of the seven continents. The 7 summits (which are obviously 8 !)... are : Mt Everest (8,848m), Mt Denali or Mc Kinley (6,194m), Kilimandjaro (5,895m), Mt Elbrus (5,642m), Vinson Massif (4,892m), Mt Blanc (4,807m) and Mount Kosciuszko (2,228m). Summiting all of them is regarded as a mountaineering challenge, first achieved on April 30, 1985 by Richard Bass.
The mountain and its surroundings are part of the Aconcagua Provincial Park. The mountain has a number of glaciers. The largest glacier is the Ventisquero Horcones Inferior at about 10 km long, which descends from the south face to about 3600 m altitude near the Confluencia camp. Two other large glacier systems are the Ventisquero de las Vacas Sur and Glaciar Este/Ventisquero Relinchos system at about 5 km. 

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2022 - Wandering Vertexes...
by Francis Rousseau
 

DEDO DE DEUS (2) PAINTED BY ELISEU VISCONTI

 

ELISEU VISCONTI (1866-1944)
Dedo de Deus (1,682m - 5,551ft)
Brazil

About this mainting
Eliseu Visconti painted a lot of times,the Dedo De Deus mountain in the Serra de Orgaos, in any season and in all possible light, at any time of day. It is THE  repetitive motif in his work, a bit like the Montagne Sainte-Victoire for Paul Cézanne or  the volcano Chimborazo for Frederic Edwin Church or Mount Everest for Nicholas Roerich.

The mountain
Dedo de Deus (The Finger of God) (1,682m - 5,551ft) is a peck whose outline resembles a hand pointing the index finger to the sky. It is one of the several geological monuments of Serra dos Órgãos which is located in Serra do Mar, between the cities of Petrópolis, Guapimirim and Teresópolis, in the state of Rio de Janeiro, in Brazil. The mountaineering in Brazil is closely linked to the achievement of the Dedo de deus. The peak is a state symbol Rio de Janeiro, appearing on its flag and coat of arms. As for the coat of arms of the State of Rio de Janeiro, the first section, occupying the upper half, is blue, representing the sky and symbolizing justice, truth and loyalty, with the silhouette of the Serra dos Órgãos, highlighting the Dedo de Deus. The symbol was created by the 1892 State Constitution and made official under the government of José Tomás da Porciúncula, with small differences over time. In 1912, José Guimarães Teixeira, Raul Carneiro and the brothers Américo, Alexandre and Acácio de Oliveira, all from Teresópolis, were the first to step on top of the rock formation.


The artist
Eliseu Visconti, born Eliseo d'Angelo Visconti was an Italian-born Brazilian painter, cartoonist, and teacher. He is considered one of the very few impressionist painters of Brazil. He is considered the initiator of the art nouveau in Brazil.
Thanks to a prize received in 1892, Visconti travelled to Paris, where he attended the École des Beaux Arts the following year. He also took classes at the Académie Julian and the École nationale supérieure des arts décoratifs, where he was a pupil of art nouveau master Eugène Grasset. He was accepted at the Salon de la Nationale des Beaux Arts and at the Salon of the Société of des Artistes Français. As one of the Brazilian representatives to the Exposition Universelle 1900 he exhibited the paintings Gioventú and Oréadas, for which he received a silver medal. Back in Brazil, Visconti exhibited in Rio de Janeiro and São Paulo, and obtained the first place in a contest for the drawing of postal stamps for the Brazilian Casa da Moeda. He traveled again to Europe, where he exhibited at the Paris Salon of 1905 the portrait of the artist Nicolina Vaz de Assis now at the Museu Nacional de Belas Artes. In this same year, he was invited to paint the stage curtain for the Teatro Municipal of Rio de Janeiro which he completed in his studio in Paris.
Decorative schemes executed for the National Library or Biblioteca Nacional in (Rio de Janeiro) date from this period as does another gold medal he received at the International Exhibition of Saint-Louis (Louisiana Purchase Exposition), in 1904, for the painting Recompensa de São Sebastião (see external links). The museum of Santiago of the Chile acquired his Sonho Místico (Mystical Dream) in 1912. In 1913, Visconti returned to Europe in order to paint large scale panels for the "foyer" of the Theatro Municipal do Rio de Janeiro. His plans to return were interrupted by the First World War so he stayed in France until 1920. The resulting paintings for the "foyer" were sent to Brazil during the war, in 1915. In 1922 his triptych "Lar" gained him the Medal of Honor in a large exhibition created in Rio de Janeiro to commemorate the first centennial of Brazilian Independence, the Exposição do Centenário. The following year Visconti painted the mural decoration of Rio de Janeiro's municipal council hall. In 1924, he painted the panel depicting the signature of the first Republican Constitution, for the old federal court, also in Rio de Janeiro.
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2022 - Wandering Vertexes...
by Francis Rousseau

SOUTHERN ANDES (2) PAINTED BY RHOD WULFARS

 

 

RHOD WULFARS (bn. 1979)
Southern Andes (6,991 m - 22, 838ft)
Argentina

In Somewhere in Andes, acrylic on hardboard, 2018, Private collection @rhodwulfars

About this painting
The painter wrote: “It is not a real mountain. Most of my paintings are born from the combination of the imagination and the hours spent looking, walking and smelling them. I call them "Twins" because they are similar to those reliefs of the Argentinian Andean Coridilla called "acarreos", which are long slopes of very popular loose rock that can be easily viewed. very frequently observed. This painting is therefore that of an unknown mountain, dreamt up which sums up several, and which came out of my unconscious one afternoon when the brush gave it life in a mysterious way without my being able to explain it. "
And indeed this mountain that looks a lot like the Alpamayo in Peru is not the Alpamayo (even if it could be the most famous South West face to be published very soon in this blog) !), any more than it is not the Cerro Poincenot, the Fitz Roy, the Cerro Torre or the Aconcagua, the highest peak in the Andes. These Twins imagined, encompassed, summarized and illustrated all these mountains at the same time. The most amazing being that they do it with a single stroke of the brushes as powerful and definitive as the rocky uplift itself.

The artist
Rhod Wulfars is a contemporary mountain painter using mainly acrylic technique for his paintings.
He was born in 1979 in Mendoza (Argentina). In his website he wrote: "I have spent my whole life by the mountains. On day I started to paint them". Using, in the manner of Nicolas de Staël, a style always beetween abstract and figurative, his very strong and very moving paintings described perfectly the majesty and the spectacular contents of the peaks he paints. Rhod Wulfars makes a surprising use of acrylic medium, in thick paste as one could do with oil paint. He used to named his works only bu numbers, and series letters, but sometime he writes the name of the peaks ans makes it more easy to identify. Other works by this artist on his website : rhodwulfars.wixsite.com/rhodwulfars/

The mountains
The Andes, Andes Mountains or Andean Mountains (Cordillera de los Andes in Spanish ) are the longest continental mountain range in the world, forming a continuous highland along the western edge of South America. The range is 7,000 km (4,350 mi) long, 200 to 700 km (124 to 435 mi) wide (widest between 18°S - 20°S latitude), and has an average height of about 4,000 m (13,123 ft). The Andes extend from north to south through seven South American countries: Venezuela, Colombia, Ecuador, Peru, Bolivia, Chile, and Argentina.
The Andes Mountains are the highest mountain range outside Asia. The highest mountain outside Asia, Argentina's Mount Aconcagua, rises to an elevation of about 6,961 m (22,838 ft) above sea level. The peak of Chimborazo in the Ecuadorian Andes is farther from the Earth's center than any other location on the Earth's surface, due to the equatorial bulge resulting from the Earth's rotation. The world's highest volcanoes are in the Andes, including Ojos del Salado on the Chile-Argentina border, which rises to 6,893 m (22,615 ft).
The Andes are also part of the American Cordillera, a chain of mountain ranges (cordillera) that consists of an almost continuous sequence of mountain ranges that form the western "backbone" of North America, Central America, South America and Antarctica.

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2021 - Wandering Vertexes...
by Francis Rousseau

TORRES DEL PAINE (4) PAINTED BY JAMES HART DYKE

 

JAMES HART DYKE (bn.1966)

Torres del Paine (2,500 m - 8,200 ft) 

Chile

In Torres del Paine first lights, study 2017, Courtesy John Mitchell Gallery London  

The mountains
The Torres del Paine (2,500 metres - 8,200 ft) are the distinctive three granite peaks of the Paine mountain range or Paine Massif. They are known as Torres d'Agostini, Torres Central and Torres Monzino. They are joined by the Cuernos del Paine. The area also boasts valleys, rivers such as the Paine, lakes, and glaciers. The well-known lakes include Grey, Pehoé, Nordenskiöld, and Sarmiento. The glaciers, including Grey, Pingo and Tyndall, belong to the Southern Patagonia Ice Field.
he landscape of the park is dominated by the Paine massif, which is an eastern spur of the Andes located on the east side of the Grey Glacier, rising dramatically above the Patagonian steppe. Small valleys separate the spectacular granite spires and mountains of the massif. These are: Valle del Francés (French Valley), Valle Bader, Valle Ascencio, and Valle del Silencio (Silence Valley).The Southern Patagonian Ice Field mantles a great portion of the park.


The painter
James Hart Dyke’s work is centred on landscape painting, from the domesticity of paintings of country houses to paintings generated from physically demanding expeditions over remote mountains. James has also undertaken a series of projects including accompanying HRH The Prince of Wales as the official artist on royal tours, working as ‘artist in residence’ for The British Secret Intelligence Service, working as an artist embedded with the British Forces in war zones, working for the producers of the James Bond films and working as ‘artist in residence’ for Aston Martin. These projects required him to respond in many different ways and have allowed him to experiment with more graphic forms of painting influenced by his studies as an architect at the Royal College of Art. His portraits have been shown at the National Portrait Gallery and at the Royal Society of Portrait Painters exhibitions.

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2020 - Wandering Vertexes
Un blog de Francis Rousseau

ILLINIZAS VOLCANOES SKETCHED BY FREDERIC EDWIN CHURCH (1826-1900)

FREDERIC EDWIN CHURCH (1826-1900),

Illiniza Sur  (5,248 m-17, 218ft)

Illiniza Norte 5,126 m-16, 818ft)
Ecuador

 In Mount Iliniza, Ecuador, July 3, 1857,  Graphite, brush and white gouache on green paper, 31.1 x 43.2 cm, Smithsonian / Cooper Hewitt, Smithsonian Design Museum 

The volcanoes
The Illinizas are a pair of volcanic mountains that are located to the south of Quito, Ecuador. They are located in the Illinizas Ecological Reserve (Reserva Ecológica Los Illinizas). These twin mountains are separated by a saddle that is about a kilometer long. The peaks are among the highest in Ecuador, with Illiniza Sur (5248 m-17, 218ft) standing slightly taller than Illiniza Norte 5126 m- 16, 818ft) its northern counterpart.
Most guidebooks (for example, Lonely Planet Ecuador, Ecuador: A Climbing Guide) spell the mountain with only one "l" as in Iliniza. The name Illinizas is derived from the Kunza words for "masculine hill."
Whilst Illiniza Sur (the southern peak) is a more difficult climb due to its glacial nature, Illiniza Norte requires little or no climbing expertise, and may be climbed as a trekking peak. A guide is still recommended, however, as the path becomes hard to navigate as it approaches the summit.
The Illinizas are excellent mountains for acclimatization to altitude, and are frequently used as a preparatory climb to higher peaks such as Cotopaxi, Chimborazo and Cayambe.
There is a rustic refuge located between the north and south peaks. It can be reached in one hour by car from El Chaupi, followed by a three-hour climb. The refuge has gas stoves, pots and pans and bunk beds. It is necessary to bring warm sleeping bags and food, but water is available to be boiled. The Englishman Edward Whymper tried and failed twice to make the first ascent of Iliniza Sur. It was climbed for the first time in 1880 by his two Italian guides Jean-Antoine Carrel and Louis Carrel. The first ascent of Iliniza Norte was made in 1912 by the Ecuadorians Nicolás Martínez and Alejandro Villavicencio.

The painter
Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes.
Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes. Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases. Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.
Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.
This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes,” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.

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2021 - Wandering Vertexes...
by Francis Rousseau

EL COTOPAXI PAINTED BY FREDERIC EDWIN CHURCH

 

FREDERIC EDWIN CHURCH (1826-1900)
Cotopaxi (5, 897 m - 19, 347 ft)
Ecuador

In Cotopaxi Seen from Ambato, 1853,  Brush and oil paint, graphite on paperboard, 17.5 × 28.9 cm Smithsonian-Cooper Hewitt

About the Cotopaxi paintings
Church has painted such a lot of times the Cotopaxi than you must have a second look to determine it the one you are looking at is the good one or a new view.
Church took two trips to South America, and stayed predominantly in Quito, Ecuador, the first in 1853 and the second in 1857. One trip was financed by businessman Cyrus West Field, who wished to use Church's paintings to lure investors to his South American ventures. Church was inspired by the Prussian polymath geographer Alexander von Humboldt's Cosmos (about “the Earth, matter, and space”) and his exploration of the continent in the early 1800s; Humboldt had challenged artists to portray the "physiognomy" of the Andes. After Humboldt’s Personal Narrative of Travels to the Equinoctial Regions of America was published in 1852, Church jumped at the chance to travel and study in his icon’s footsteps (literally, as he stayed in Humboldt’s old house) in Quito, Ecuador. When Church returned in 1857 he added to his landscape paintings of the area. After both trips, Church had produced four landscapes of Ecuador: The Andes of Ecuador (1855), Cotopaxi (1855), Cayambe (1858), The Heart of the Andes (1859), and Cotopaxi while erupting in 1862 (see above). The Heart of The Andes as week as the Cotopaxi paintings are precious and precise documentation, scientific studies of every natural feature that exists in that area of the Andes. Every species of plant and animal is readily identifiable; even climatic zonation by altitude is delineated precisely.
In this way, Church pays a unique tribute to Humboldt (who inspired his journey) as well as maintains his Hudson River School roots. “Therefore instead of the fiery crimsons and oranges of his emotional crepuscular scenes, the palette here is comparatively restrained by Church's standards: quiet greens, blues, browns, ochres and subdued grayish purples of sky, stone, verdure and water in full, even daylight.”

The mountain
Cotopaxi (5,897 m - 19,347 ft) is an active stratovolcano in the Andes Mountains, located in the Latacunga canton of Cotopaxi Province, about 50 km (31 mi) south of Quito, and 33 km (21 mi) northeast of the city of Latacunga, Ecuador, in South America. It is the second highest summit in Ecuador, reaching a height of 5,897 m (19,347 ft). It is one of the world's highest volcanoes. Many sources claim that Cotopaxi means "Neck of the Moon" in an indigenous language, but this is unproven. The mountain was honored as a "Sacred Mountain" by local Andean people, even prior to the Inca invasion in the 15th century.
Most of the time, Cotopaxi is clearly visible on the skyline from Quito and is part of the chain of volcanoes around the Pacific plate known as the Pacific Ring of Fire. It has an almost symmetrical cone that rises from a highland plain of about 3,800 metres (12,500 ft), with a width at its base of about 23 kilometres (14 mi). It has one of the few equatorial glaciers in the world, which starts at the height of 5,000 metres (16,400 ft). At its summit, Cotopaxi has an 800 X 550 m wide crater which is 250 m deep. The crater consists of two concentric crater rims, the outer one being partly free of snow and irregular in shape. The crater interior is covered with ice cornices and rather flat. The highest point is on the outer rim of the crater on the north side.
The first recorded eruption of Cotopaxi was in 1534. With 87 known eruptions since then, Cotopaxi is one of Ecuador's most active volcanoes.

The painter
Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes.
Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes. Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases. Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.
Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.
This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes,” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.

___________________________________________
2021 - Wandering Vertexes...
by Francis Rousseau